Chapter [Sarga] 5 - Passionate Krishna

säkänkñapuëòarékäkñaù

Raadha's friend comes back to Raadha and narrates how Krishna is lovelorn as
Raadha left abruptly. The poet dwells on 'anguish in separation'
vipralambha shR^ingaara from the first chapter to
tenth, and in eleventh and twelth he unifies the hero and heroine of the
song. That mood of anguishful separation will be heightened from now on.

When Krishna said to the girlfriend of Raadha this way, "I'll remain only at
this bower, you go and convince Raadha, and tell her that I want her to come
here..." then assigned by Krishna thus, she came back to Raadha and said
this in person. [5-1]

"hè, dear Raadha, keeping Love-god close to it the sandal-breeze is breezing
there, and it is unfolding bunches of flowers, as though to rip the hearts
of estranged lovers, and there alone that Krishna is listlessly longing for
you, lorn in your love... [10-1 a pa]

"While the moon is burning him with his coolant moonbeams, he is tagging
along the death-line, and while the sharp arrows of Love-god are falling on
him, he is highly frantic and greatly rueful... thus, that Krishna is
listlessly longing for you, lorn in your love... [10-2 a pa]

"While swarms of honeybees start to buzz he lids his ears with palms, and
while the annoyance of your parting comes to mind, night after night, he
undergoes pangs of love... thus, that Krishna is listlessly longing for you,
lorn in your love... [10-3 a pa]

"Leaving off his heart-pleasing house he lingers in the thickets of woods,
and writhing on the beds of swards, he descants on your name, many a time...
thus, that Krishna is listlessly longing for you, lorn in your love... [10-4
a pa]

"While flocks of Kokila-s are re-echoing their singings, he rushes to each
and every direction unable to listen those love-songs, and while lots of
people laugh at him, for his mad-rush in love, he conceals his pangs of love
saying thus as, 'nothing... nothing...' thus, that Krishna is listlessly
longing for you, lorn in your love... [10-5 a pa]

"While the cooing of pigeons comes to his mind, he reminisces them only as
love-murmurs, and he reckons the sublimity of hymeneal comfort with you, as
highly excellent... thus, that Krishna is listlessly longing for you, lorn
in your love... [10-6 a pa]

"While people speak of the name of a month, similar to your name, he listens
to it, and even reminisces that name with aesthetic pleasure, as he is now
disinterested in other girls... thus, that Krishna is listlessly longing for
you, lorn in your love... [10-7 a pa]

The month named after Raadha is Vishaakha, vaishaakhe
maadhavo raadhaH 'Vishaakha is the name of Maadhava, or of Raadha
[apart from that of a month...]'

While poet Jayadeva tells about the passional frolics of Krishna, let
Krishna dawn in the hearts of merited people, by their own merit... [a pa
10-8]

The stanzas at 5, 6, and 7 do not appear in Mumbai, or in northern editions.
As they are without eight sub-songs, this whole song is said to be an
interpolation, to which southern versions further interpolate three
sub-songs, as above.

"Earlier, where you were with Krishna in a riverine bower on Yamuna River,
where Love-god reacquired all his achievements through your conjugation, now
Krishna is in that bower only, ceaselessly meditating only upon you, by
making your words of chat as his strings of chants, and again desirous of
moksha by a tight embrace of your pot-like ambrosial bosoms...

Whoever wants a final release meditates on far away place, preferably on a
riverbank and in a bower, preferring solitude in ascesis. This is as said in
manjuuSa: gR^ihe goSTana aaraama nadii naga sura aalaye
| anugrahaat guroH siddiH shiighram syaat uttarottam 'in a solitary
place, cowshed, forest, gardens, on riverbanks, seashore, in temples if
hymns are chanted, one can attain his moksha, with the blessings of his
teacher...' Here, Krishna is compared with a meditator, Raadha his goddess,
her various chitchatting as hymns to her, and the finality of his meditation
culminates in an embrace, which itself is moksha through supreme love.

"Oh, high-hipped Raadha, he is available in that preset place, a
quintessentially blissful place for connubial bliss, with his lovely and
heart-stealing mien, hence follow the lord of your heart, who alone has a
couple of hands that have a selight of hand to engineer the busty bosoms of
milkmaids of their vanity... don't linger to go... for Krishna is lingering
in that breezy garden on that riverbank of Yamuna... [a pa 11-1]

"O, Raadha, he uses your lyrical names in his fluting, he indicates himself
with such a soft fluting, he dotes on to embrace any particle of pollen on
your body, when wafted by air to his near, then why harping about your
embrace... [a pa 11-2]

"O, Raadha, discard your solid silver anklets like your enemy, as they will
be highly dissonant when they are bumping in disports of courtship, but wear
a blackish shawl, and start towards that darkly shady bower... [a pa 11-4]

"O, yellowy-golden Raadha, when you will be in foreplay with him, then your
pearly pendants will be dangling on the cloudlike chest of Krishna, like
flittering flights of cranes on a cloud, then you will beam forth like a
streak of lightning on that cloudy Krishna, if only your merit fructifies...
[a pa 11-5]

Here Raadha is said to be goldenly yellow indicating the initially yellowish
lightings piitaa varSaaya vij~neyaa on an
all-giving cloudlike Krishna. Though other comparison in similes, -
'cloud-Krishna's chest, pearl strings-cranes rows, golden Raadha- golden
lightning' are agreeable some hold objection in their placement. The
lightning will be above clouds, and cranes will be below clouds. Here
Krishna is below, over whom pendants are dangling, above which Raadha is
beaming forth like lightning. Even then it is replied that the cranes are
above the lowered cloud, called Krishna, who is lowering himself for a
devotee, then Raadha is shining forth above those two obects - upraised is
her personality. It is then abhuuta upama, as
Poet Dandi said: sarva padma prabhaa saaraH samaahR^ita
iva kvacit | tava aananam vibhaati it taam abhuuta upamaam viduH 'o,
beauty, you face is shining forth as though it has the collection of all the
resplendence of all lotuses...'

Or, this can be explained as, tarala -
cancala - flirtatious; balaake= coquettish girl;
as said in shaashvata nighaNtu 'an everlasting
lexicon' balaakaa baka panktantau syaat balaakaa bisa
kaNThikaa, balaakaa kaamukii proktaa balaakaa ravako mataH meaning
'oh, Raadha, you can outdo Krishna, who is an embodiment of millions and
millions of Love-gods, if only you can youself place yourself on his chest,
then only your merit fructifies...'

"O, lotus-petal-eyed Raadha, if you eye him, who is an aggregate of all
kinds of love, your clothing slithers down, waist-string sneaks out, your
hips will be shorn of any covering on their own, then why don't you treasure
up your body, the primary source of bliss, on a bed of tender leaves, like a
treasure trove... [a pa 11-6]

Here a repeat of idea said at a pa 6-2, in Ch. 2 is there. The dress and
peripherals peel off on their own in ecstasy, may it be in love or madness.

"On one hand Krishna is a self-respectful one and on the other now this
night is slipping by to it cessation, make happen my words that are artful
in hastening you, thus let Krishna's be fulfilled... there Krishna is
listlessly longing for you, lorn in your love... [10-7 a pa]

On worshipping Shri Krishna, Jayadeva is saying this highly pleasant poem on
that highly graceful one, and one desirable by our merit, and thus oh,
devotees, adore Krishna, only to gladden his heart... [a pa 11-8]

"O, Raadha, your lover bestrews his sighs oftentimes as you are unapparent,
he often looks about frontally in all directions for your reappearance
unceasingly, and often enters buzzing bowers presuming that you are hidden
in them unobservedly, often highly scorched by love-heat, he often prepares
leafy love-beds unprofitably, and he often looks over all the directions
unforgettably, thus your lover now deports himself, worsted in the war of
love... [5-5]

"You missy Raadha, matching to your fading misgivings the scorching sun is
now dusking, matching to the densely passion of Krishna the darkness is
gaining density, matching to the pathetic callings of Cakravaka-s, the
lovebirds, my entreaties are prolonged... thereby wasteful is this delaying,
and enjoyable is this moment in going to the preset place of love... [5-6]

"O, friend, he staying in a bower filled with thick dark shades thinks, 'she
draws nigh of me, sees me, tells stories of her love-pangs, hugging every
limb of mine she goes into delight, thus she disports with me...' and this
way he is anxiously agitated, hence he shudders for his aloneness, but
thrills for your expected arrival, again sweats for it is darkening, but
gladdens to go forward to welcome you, again he becomes nonplussed for your
absence... [5-7]

This verse will be placed as 2nd verse in 11 chapter of this work in other
mms. Even then the meaning would be the same, but this characterisation then
belongs to Raadha.

"In these dark nights libertine couples start meandering in still darker
bowers for their cherished lovers, but unwittingly one meets one's own
wife/husband, and then their escapade firstly starts with hugging, next with
kissing, next with nail scratching, next highly excited by excitement and
desire they enter into foreplay, and then step by step they culminate it
into their conjugal bliss... after that when they converse, he comes to know
that she is his wife, and she comes to know likewise... and caught unawares,
they mix that bliss in shame and depart shamefully, nil desperandum... and
in such passsional nights, aesthetic pleasure seeking is null and void -
Really? [5-8]

Jayadeva is less sung for his 'treatise on aesthetic pleasures' -
rasa siddhaanta and Dr. Raj Brahmbhatt in his
'History of Sexual Medicine' says, Ratimanjari
'the garland of love - is the work of poet Jayadeva. This treatise is very
short, written in an elegant style...' It is said that this song contains,
though not all of the nine, but many rasa-s
moods. Firstly by hugging, a sort of 'fear' is occurring
bhaya sthaayii bhaava - bhayaanaka rasa because it is a stealthy
hugging. Next, after coaxing and combing, kissing and scratching is started,
hence she should be in a pitiable mood, as the woman in question will almost
be departing confusedly but dragged forcefully by that man. Then should be
crying, as she does not know who is doing what. Hence it is - 'piteous mood'
karuNa rasa. Then, on entering into foreplay an
enthusiastic bravery viira rasa bechances. Then,
during that enjoyment, an astonishment is caused vismaya
saha cari - adbhuta rasa, which leads to contented smiling, which
gives rise even to laughter. It is haasa sahita haasya
rasa.

All this is for licentious human couples, but not in respect of higher gods
or lower animals, because humans alone can enjoy aesthetic pleasure
rasa aasvaadana, which facility is nonexistent in
others kinds of existence. And here Raadha's friend is quoting from her
human experience, and through Jayadeva's poetic expertise. So, nothing can
be ascribed to role-players like nonexistent poetic characters, or those
with supra existence, i.e., divine couple. This is only to remind the poetic
ability of Jayadeva.

5-9. su mukhi= oh, pretty, faced one, Raadha;
su bhagaH= highly desirable one Krishna [subhaga= a youthful, mannish
eligible youngster, muchly desirable by all girls of age - say, a prince
charming]; saH= he that Krishna;
bhaya chakitam= by fear, wincing; dR^ishau
= looks; timire= in darkness;
pathi= on pathway; vinyasyantiim= she who
is keeping [keep an eye on, watchfully, or, dancers' stage searching like
stage walking]; pratitaru muhuH sthitvaa= every, tree, at foot, on
staying awhile [unable to run or rush due to weight of bust or bums];
mandam padaani vitanvatiim= slowly [not slowly, but gracefully,]
feet, placing [dancer's footwork is suggested, and a graceful lady is not
supposed to rush to her man, lest he may mistake her for a strumpet;
ananga tarangibhiH angaiH= Love-god's, weaves limbs [her limbs are
nothing but the passional tiderips of a sea called Love-god];
katham api= somehow, even [somehow veiling herself with black cloths,
some how treading unseen by others, somehow made up her mind to go to him,
at least now]; rahaHpraaptaam = in secrecy, he
who chanced [to meet you]; tvaam pashyan= you, on seeing [seeing you
in darkness! Absurd? No, explained later]; kR^ita
arthataam upaitu= achive, purpose [consummation,] let him achieve.

"O, pretty-faced Raadha, Krishna being an unique Prince Charming, will find
you out, while you advance to him casting your fearful glances wincingly on
your unenlightened path, walking gracefully on that indiscernibly darkened
pathway, watching your own step, and while pausing awhile at every foot of a
tree, either by your hesitation, or by your graceful footwork, and you with
passional tiderips like limbs of yours, if you somehow reach him, even if in
unknowable secrecy, even if it is an unknown darkness, he certainly sees
you, and let him achieve that consummation on your reaching him...

the philo-ing giita govindam is avowedly not taken up in this work; but it
is to be incorporated induced by the itching commentaries. This has two
shades. One belongs dancers and the other to devotees. Keeping dancers side
away for a while, on devotee's side it is like this. Krishna has not come to
Raadha but asked her friend to fetch her to him, only to examine her
devotedness. That being so, here it is said, 'he sees you...' taking the
word dR^ishau and the root for this word is
dR^ishi meaning 'discern'
vivakshita j~naana arthakatvam a kind of gnosis... 'You can
'Gnosticise' him and he does the same, if only you come into union with him,
first psychically, then bodily. To achieve that you have to fearfully wince
you glances in searching for him in the wild darkness of unenlightened
state. You have to tread an unenlightened path, where unenlightened path is
- physically a darksome way, and in the sense 'give spiritual insight to (a
person)...' you have to have your own enlightenment to search for him in the
dark... you have watch your step otherwise you may misstep, pause it at each
tree of knowledge to learn more about that object you search... and then you
should have a graceful footwork, lest your running, rushing, and racing will
appear as your greediness and it would result into futility... this is as
far as spiritual mind is concerned - ahamta
I-ness'. Then all your bodily limbs, for whose passional tiderips sake you
are staging all this drama, they shall be surrendered unto him, and let them
merge into one colliding tiderip called universal love. Much more is there,
but leave it as it may. Here ends the 5th chapter in northern mms.
Southerners have another verse as below.

He who is the honeybee hovering on the lotus called the comely face of
Raadha, he who is a decorative sapphirine jewel at the helm of crowns of all
people and their kings in the triad of worlds, he who is the remover of
burdensome incarnates on earth like Shishupaala etc., and he who is the
crepuscular gloaming dawning in eventides to blithely gladden the hearts of
milkmaid beauties of Braindaavan, and he who is a cometary destroyer of
evildoers like Kamsa, he that delighter of his mother Devaki, shall grace
you all, along with Raadha.

This chapter has a subtitle abhisaarika varNana
'portrayal of a heroine who makes advances to her lover...' and as explained
in treatises of aesthetics her role-play will be like this
madana anala santaptaa yaa abhisaarayati priyam,
jyotsnii tamasvinii yaana yogyaa ambara vibhuuSaNaa | svayam ca abhisaret
yaatu saa bhavet abhisaarikaa - rasaarNavam 'one who proceeds to her
lover in the darkness of moonlit nights, attired and decorated with
befitting material, parched by love heat, is called
abhisaarika nigh-nearing ladylove...'

iti gétagovinde säkänkñapuëòarékäkño näma païcamaù sargaù

Thus, this is the 5th chapter, called Passionate Krishna, in giita govindam
of Jayadeva.